DEFINITION July 2022 - Newsletter


Far from being consigned to history, anamorphic lenses are enjoying a renaissance with new offerings for all budgets. We round up the latest from key players FEELING THE SQUEEZE

WORDS. Matty Graham

F ollowing the advent of Cinemascope in the fifties, anamorphics became the norm for filmmaking, enabling DOPs to fit a wider view within a standard 35mm frame of celluloid. The arrival of digital cinema cameras changed that, however. So opting to use anamorphic lenses today is more an aesthetic decision than a technical requirement. This has undoubtedly led to an increasing number of manufacturers producing lenses that can deliver unmistakable looks that spherical optics can’t emulate. Naturally, choosing an anamorphic lens won’t suit every project, which is why we’re rounding up a suitably widescreen range of choices. From budget optics for small camera set-ups, through to those well-known names used in countless Hollywood productions, the full spectrum is here. Rest assured that if it’s oval bokeh, lens flare, shallower depth-of- field and pronounced fall-off you want, these options will deliver.

39. JULY 2022

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